To address some of the common situations videographers face when creating corporate or online videos, we have launched a three-part video series.  The topics include:  How to Mic Someone at a Computer; How To Sync Audio and Video; and How to Mic a Walk -and- Talk.

How to Mic Someone at a Computer.

Miking someone sitting at a computer for a podcast or webinar seems simple, but mic choices and room noise often conspire to deliver poor sound.  In this video, you’ll be able to compare the sound of different types of microphones, and learn how to overcome the effects of a noisy room.

 “…the computer music market went from just under $140 million in sales in 1999 to almost a half-billion dollars in 2008.”

 Consider this: According to the Los Angeles Times, over half the commercial recording studios in the L.A. area had closed or been sold to artists for private use. And NAMM, the trade association for music manufacturers, reported that the computer music market went from just under $140 million in sales in 1999 to almost a half-billion dollars in 2008.  Recording software like Avid Technology Inc.’s Pro Tools, Steinberg Media Technologies’ Cubase and Apple Inc.’s Garage Band perform many of the tasks of old-school studio consoles and tape recorders at a fraction of the price. 

 Carr puts it this way: “Some people call it the triumph of the amateurs — the ultimate democratization of the means of production. Others say it’s the end of pop music as we know it.¹”

 Most Shure customers agree with the former and not the latter.  That’s why “How do I connect a microphone to a sound card?” has held a top ten position question among 3,658 questions in shure.com’s Technical FAQ (Find an Answer) section since 2002.

 In this post, we turned to Shure Associate Gabe Benitez for an overview of the basics.   First, we’ll cover some fundamental concepts.  Then, we’ll move on to considerations when using an XLR-to-USB adapter.

 Fundamental Considerations

 The growing popularity of home studio recording consistently raises the question of interfacing professional microphones with computer sound cards. Unfortunately, sound cards are rarely designed for professional microphone use. They often provide poor, low level and noisy sound that doesn’t match the quality of the recording package or the mic.  The good news is that properly interfacing a mic to a sound card isn’t that difficult.

 In order to interface a microphone to any device, we have to consider the electrical and mechanical compatibility between them. Here’s what that means:

 Signal level  

This is the actual voltage that comes out of a source or is needed by a receiving device, for example a sound card. Professional microphones put out a very low voltage in the range of 1 millivolt (1/1000th of a volt). Sound cards on the other hand require levels in the order of 10 millivolts (ten times as much!). So the first step is to increase the level before we get to the sound card.

 Impedance  

This is similar to resistance and its vital when interfacing two circuits. The relationship between the source impedance (microphone) and the load impedance (sound card) will determine how much of the energy coming from the mic is actually transferred to the sound card. Load impedance should be around ten times the source impedance. Professional microphones usually have between 150-600 Ohms. Soundcards have between 600-2000 Ohms. In most cases impedance will not be problematic.

 Connector and wiring scheme  

This is probably the most visible of the problems. There are more than a few connector types in the audio industry. Professional microphones use XLR connectors. Sound cards, due to space constraints, are equipped with a smaller connector, usually a 3.5mm “miniplug”. Although these look the same from the outside, there are at least three different types and multiple wiring schemes. Unfortunately, there is no standard for sound cards. Some are balanced, others are stereo, and others provide bias in separate wires. On most sound cards there is a line input next to the mic input that has the same connector. The line input is far more standardized than the mic input. This, as it will be explained later, will let us properly connect a microphone to the sound card.

 Dynamic vs. Condenser

Connecting a condenser mic to a sound card requires power, while a dynamic does not. Although sound cards can provide bias, they will not provide or have the capability to supply the phantom power that is needed for condenser mics. If you want to use a studio-grade condenser microphone, you will need an external power supply.

 This may all seem a little daunting, but there’s a simple way to connect just about any microphone to a sound card and that’s by using an external microphone preamplifier that has a line and/or a USB output. If you use the line output, connect it to the line input of the sound card. If the preamplifier has a USB output, even better – avoid the sound card and go directly to the computer through the USB port. These preamplifiers come in different shapes, forms and prices (with some as low as $40) and many will let you connect a dynamic or condenser microphone (if they provide phantom power) and gives you the ability to get the professional sound that you would expect from your Shure microphone.

 XLR-to-USB Adapter

No Sound Card Required

 Shure introduced the X2u XLR-to-USB adapter in 2009. You already know about interfacing a professional wired microphone to a computer sound card (by reading the section above). But now, let’s think about external digital devices that allow you to bypass the computer sound card altogether.

Remember that signal level is the actual voltage that comes out of a source. In some cases a microphone’s output signal may be too low and must be increased before it connects to a sound card. If the increased signal is too high, distortion may result. If the signal isn’t increased enough, it can quickly become noisy.

 Here’s what an adapter like the X2u does to solve this problem: The Shure X2u allows the gain to be changed before the analog to digital conversion. There is a signal LED to indicate proper signal level and distortion. Using the LED allows the user to avoid both distortion and noise optimizing the microphone signal for recording.

 Computer sound cards have impedances and connection schemes that adapt to many consumer microphones. Professional microphones have impedances and connections schemes that are designed to interface with professional microphone mixers.

 The X2u has a standard, pin 2 hot, female XLR connector and it also has an input impedance designed to work with many types of professional microphones. These built-in plug-and-play features make devices like the X2u easy to use.

 The X2u provides +48V of phantom power which feeds any modern and even some vintage condenser microphones. The Shure X2u uses your computer’s USB for power. It’s a good idea to turn off phantom power when using a dynamic microphone to extend it the life of your laptop battery.

 The X2u is designed to substitute your computer sound card by providing an external professional microphone input and a headphone output. The headphone output is connected directly to the microphone input.  That’s how zero latency monitoring is achieved. Use the headphone output to monitor both the signal recorded and the signal played back from the computer.

 Easy and Budget-Friendly

 Constructing a well-equipped recording studio twenty years ago ran into the millions of dollars.   Today, you can start small and still be professional with a computer, recording software (ProTools 10 for Students runs for about $300) and bundles like the SM58/X2u XLR-to-USB adapter, available just about anywhere for less than $200.

Interview with Mark Jensen.

You’re an IT guy and a voice-over talent, in addition to being the force behind NewMediaGear.com and Studio1A Productions. Can you explain how these inter-relate?

I am fascinated with technology. This drive rages stronger now than ever before. From on-air radio guy to Senior Global IT Engineer and finally media entrepreneur, being at the forefront of technology has relentlessly guided my careers.

Analog, digital (HD), satellite and even streaming radio all have common bonds. Computer technology slowly, then rather quickly, swept its way into audio. Information Technology is embedded in almost every facet of our lives, technically and artistically – from electronic books, smartphones to broadcast and recording – technology rules.

In this issue, we’re talking about audio for online video, thinking specifically, about creating better web/YouTube videos than the kind that might be created using a mobile phone, webcam or camcorder’s built-in microphone. So, let’s start with – what’s wrong with using one of those built-in mics?

In the short term, these low-quality, integrated microphones seem fine. But, when we think long term, cutting corners with technology deals us a terrible blow. Think about being able to go back in time and actually hear the voices of people and experiences that can never be re-created– decades or even centuries old. Wouldn’t we want to capture those moments with as much sonic clarity as technology allows? True, it’s not practical to carry around a sound studio.

However, with kits like the Shure SM57/X2u and the USB port on your laptop, it’s becoming much more practical to capture professional audio on the go.

There are as many mic options, probably, as there are broad categories of online videos. What mic recommendations and tips do you have for specific applications?

First, remember that the most expensive microphone is rarely the best choice. In a world of picky sound engineers and thousands of choices, few would disagree that the affordable SM58® is the most popular, versatile microphone in the world.

Let’s say we want to capture the voice of a strong vocalist, singing lead. Right away, I think of condenser microphones. Most large diaphragm condenser mics are very sensitive, able to capture subtle nuances and wide dynamics. With that heightened audio acuity, and without a sound studio, you run the risk of recording your neighbor’s dog barking or the subtle sound of a door closing on the other side of the house.

How about recording narration for a video? Here, a good dynamic microphone works great because it’s a passive device and won’t generally be as sensitive to ambient sounds. Yet, a good dynamic microphone will brilliantly capture the mood of speech.

Social journalism intrigues me. Here, a reporter style, tough as nails (an SM57 with wind screen comes to mind) dynamic works great. They may have better lighting and cameras, but with some experience, an individual can match the audio quality of your local television station.

I grew up around radio broadcast microphones. If you have a dedicated room, and want that radio look to your video, try an SM7B on a boom. If you want a retro look, blow them away with the timeless Super 55.

If you’re recording several people, using a single microphone, I would huddle them around an SM58. This mic is known for being able to take on a completely different character by close or medium talking the mic. Have you ever watched a comedian on stage wrap their hands around the microphone head, achieving a bassy, or even muffled sound for dramatic effect? This is proximity effect and the SM58 made this stage technique famous.

What are the most common mistakes beginners make producing their first short videos?

Always watch the audio levels. When it’s live, and there is only one take, set your audio record levels low on the camera. Audio levels can be boosted later, but over-driven, distorted audio can make a great shoot unusable.

If levels vary wildly, check your video camera for an audio compressor or limiter. If you’re confident the levels won’t distort (record at or above 100% or 0db), then run without the compressor. Record a few dry runs to get an idea of just how much room there is from silence to the loudest sound or voice you are recording with your camera in the scene/environment.

Don’t use video camera (or webcam) built-in audio. Take the time to assess your project. Storyboard it and plan the flow, even if you scribble something at the last minute. Effective video requires planning and coordination.

A visible microphone in your video can actually lend credibility. Microphones are frequently used on television talk shows as props. If you can dedicate room to a studio and large table, go for the classic Shure SM7B on a boom. Save finicky lavaliers for shots when a visible microphone just won’t work.

As mentioned above, don’t rely on your video camera microphones. If you are constantly on the move with your camera, consider mounting a shotgun type microphone on it. This will give you maximum clarity right where you want it.

What limitations does the Internet (or YouTube-type platforms) have on audio production?

I am blown away with the inexpensive tools and the creativity found in today’s “Tube” type videos. Professional audio/video hardware and software has never been more affordable.

While the file size, and stream time, of Internet video has made incredible progress, there are still limitations. Too many times, I see Internet video shot in 1080p and high bit depths, just because it can be done. In reality, most Internet video will be transcoded (converted) to a much lower quality that still looks incredible. For me, 720p, at a reasonable bit depth is the sweet spot.

There are other video issues beyond the scope of this article, such as rolling shutters and resolution vs. bit depth and optics. Experiment and try to get the best quality shots without maxing your cameras video settings.

In audio, bigger and pricier will not always give you better results. Some of my most inexpensive microphones get the most use. The important part is that they are all professional. To me, a professional microphone means it has a balanced (XLR connector instead of the small consumer 3.5mm unbalanced). With a product like the Shure X2u, you can instantly plug in a pro microphone while the other end goes to your computers USB connector. That type of flexibility simply wasn’t available 10 years ago.

You’re also a podcast producer. What are the similarities (or the differences) between recording for podcasts and recording for video?

I like to punch the final audio levels a little harder when creating audio-only. Ideally, I would compress my audio more because people may be listening in noisy areas or in the car with the windows down.

Video can be a little more gentle and refined because the visual helps articulate your message. Also, your viewers are typically consuming your media in a quieter environment.

Try this experiment. Listen to a few minutes of random television shows. Listen only to the audio. Then, turn on a few random radio stations. Notice the difference in overall sound? Much of that difference is due to video stage production and the stations final processor. Sometimes television sound is captured live, but high budget film and television use a technique called automated dialogue replacement (or ADR). After a video shoot, the actors will lip sync their lines in a sound studio, achieving the highest quality audio experience and advanced mixdowns. I’m getting off track here, but the underlying concepts and foundations of audio are universal.

Don’t let all of this impede your message. In the end, that famous saying is still paramount: content is king. Use the best tools available, but never lose sight of your message and your audience.

Got a favorite Shure mic? What do you like about it?

I do! It’s a PG27. There is just something about the way that microphone articulates my voice. It’s ultra crisp and clean. It always gets the job done. Being a studio condenser, it is larger than most hand held microphones, but the sound is amazing for speech.

ABOUT MARK JENSEN

Mark lives and works in Orlando, Florida with his awesome wife Laura. He is a Microsoft Certified Systems Engineer, FCC licensed radio operator, national media producer and agency voiceover talent, while running his flagship syndication NewMediaGear.com.

You can reach Mark at: mark@newmediagear.com

This overview is narrated. Please be sure to turn your computer’s volume up.

Shure’s Training and Education Manager Gabriel Benitez writes a newsletter for the professional sound community. Last month, he addressed the topic of using external devices in home recording that allow the recordist to bypass a computer’s sound card.

With the growing popularity of home studio recording, there is an increasing need to interface professional microphones with computers. Responding to market demand, Shure introduced the X2u XLR-to-USB adapter at NAMM this winter.

Most of you know about interfacing a professional wired microphone with a computer sound card. This time we will talk about the benefits of using an external digital device like the X2u adapter that allows the user to bypass the computer sound card altogether.

Let’s break it down:

Signal level – is the actual voltage that comes out of a source; in this case, lets use a microphone as our source.

In some cases, a microphone’s output signal may be too low. As a result, it must be increased before it connects to a sound card.

If the signal is increased too high, distortion can result and if the signal is not increased enough, noise happens.

The Shure X2u, for example, allows the gain to be changed before the analog to digital conversion. There is a signal LED to indicate proper signal level as well as distortion. Using the LED allows the user to avoid both distortion and noise optimizing the microphone signal for recording.

Impedance and connector wiring scheme – Computer sound cards have impedances and connection schemes that adapt to many consumer microphones. Professional microphones have impedances and connections schemes that are designed to interface with professional microphone mixers.

The X2u has a standard, pin 2 hot, female XLR connector and it also has an input impedance designed to work with many types of professional microphones. These built in plug and play features make the X2u an extremely easy device to use.

Dynamic vs. Condenser – the X2u provides +48V of phantom power which can feed any type of modern and some vintage condenser microphones. The X2u does not operate with internal batteries therefore it uses the computer’s USB for power. It is recommended to turn phantom power off when using a dynamic microphone and a laptop computer running on batteries; this will extend the use of your laptop battery.

Connecting any microphone to a computer – the X2u is designed to substitute your computer sound card by providing an external professional microphone input and a headphone output with zero latency monitoring.
The headphone output is connected directly to the microphone input; this is how we accomplish zero latency monitoring. Use the headphone output to monitor both the signal recorded and the signal played back from the computer.

Tip of the Day:
The best way to connect a professional microphone to a computer? Use a device like the Shure X2u adapter.

Just a couple of years ago, we introduced the topic of podcasting in Shure Notes. For some of our readers, we may have been introducing the concepts well. Today, no reliable estimate exists of the millions of podcasts around the globe. But when the President of the United States gets into the game, it’s clear that podcasts are a powerful and prevalent communications medium.

For this issue, we decided to focus on the recording process. And for that, we turned to Chris Lyons, who not only produces Shure podcasts, but wrote our newest book on Home Recording and Podcasting. Since this is a very broad subject, Chris suggested that we break it down to six critical elements.

Let’s talk about the fundamental differences between home recording and podcasting.

Home recording is the term used for any recording created outside of a traditional professional recording studio. This term can be misleading because recording equipment has become so compact, easy to use and affordable that there might be no difference between the equipment used in a traditional recording studio and what is used in a home ‘project’ studio.

Podcasting is the generic term for creating audio or video files that can be subscribed to, so that the subscriber is automatically notified that a new episode is available. It is also a generic term for downloadable (non-subscriber) recordings – especially those that are part of an ongoing series.

Podcasts can contain audio only, audio with graphics, or video, and can be played on an MP3 player or a computer. Podcasts are created by traditional media organizations while others are created by companies, religious groups, educational institutions, or individuals.

The bottom line is that home recording is a method of capturing and producing content, while podcasting is a means of distributing that content. In other words, many people reading this issue are both home recordists and podcasters.

Six Things You Can Do To Make Your Recordings Sound More Professional

1. Get the right gear.

If you only need one mic (to record a podcast with just one talker or just one music track at a time), a microphone with a USB output might be most convenient. If you need to record multiple talkers, singers, or instruments simultaneously, then XLR mics connected to a mixer is a better solution. If the mixer doesn’t have a USB output, an XLR-USB adapter can do the job.

2. Find a quiet place.

Household noise (from appliances, heat/air conditioning, etc.) may not be that noticeable to you, but a microphone hears it loud and clear. To get professional-quality sound, record in a location that is as quiet as possible.

The ‘deader’ the better.

As recording equipment becomes more compact, you can look to smaller and smaller spaces for your home recording and podcasting needs. This is good because it provides more oppo rtunity to find the most acoustically neutral (quietest and least reflective or ‘dead’) area. Smaller areas also make it easier and less expensive to improve the acoustics.

What are you looking for? It’s more what you are looking to avoid:

Reflective or hard surfaces, such as windows or concrete walls. If your space includes these surfaces, you will want to ‘deaden’ them with acoustic foam, carpet, blankets, or heavy drapes.

Fans, air conditioning units, furnaces or other appliances that generate mechanical or electrical noise.

Other people. Use a sign to alert family and friends to stay away while you are recording.

Make a few sample recordings.

Your brain is quite good at ignoring background hiss or mechanical noise, so make a recording of the chosen areas for a minute or so. Then listen to them on your MP3 player or computer. You’ll be surprised at how much noise the microphone picks up that you didn’t notice while standing in the room. Obviously, the area with the least amount of noise should be the winner.

Place the microphones far from unwanted sound sources.

Be sure to also point the microphones away from any unwanted noise. Make a few sample recordings of the chosen recording area, with the microphone facing different directions, to find the quietest possible placement.

While you can clean up the sound (somewhat) during the editing and mixing process, the equipment can become expensive and the techniques start to get very advanced. Even if money and expertise are at your fingertips, there is only so much that even the world’s best sound engineer can do to soften the negative affects of background noise and hiss without noticeably altering the sound of voices or instruments.

Simply put: the best way to eliminate unwanted and ambient noise is to make sure you do not capture it in the first place.

Can’t find a “dead” enough space? Sing or talk into the closet. One of the best tricks we’ve found is to open the closet door, throw blankets or sleeping bags over the wide open doors, and position the mic so that the least sensitive side of the mic is facing into the back of the closet. The more clothes in the closet, the better! This absorbs many of the reflections and can give you a more intelligible sound

3. Stop the Pop.

First of all, you need to understand what popping or plosives are.

When you say the word ‘pop’ for example, you will hear an explosive breath after the ‘p’, that is, ‘po-puh’. Pops occur most often with “p”, “t”, “d”, and “b” sounds, and can be very distracting on the final recording. Windscreens and pop filters provide an acoustically transparent shield around your microphone, which breaks up the wall of air before it hits the mic and helps reduce popping sounds.

One thing you never hear in professional recordings is pops from breath noise. Be sure to use a pop filter and/or adjust microphone position to avoid these unwanted sounds.

4. Stay in control.

Maintaining a consistent sound level is critical.

Make sure your sound sources do not move in and out of the pickup areas of the microphone. Movement (for example, varying distance from the microphone) will change recording levels, which are hard to fix later.

It’s annoying when your recording level keeps going up and down, forcing listeners to keep adjusting the volume. Learn to maintain a consistent position relative to the microphone, both in terms of distance and angle. This will keep overall audio level steady.

Record any instruments separately from vocals

Use two microphones: one positioned near the singer’s mouth and one positioned near the instruments sound source.

5. Learn to use effects.

Digital audio effects can make both voices and instruments more pleasant to listen to and that allows listeners focus on your music or message.

There are plenty of effects you can use for home recording, though most podcasts (especially if you capture clean sound) don’t require much in the way of effects processing. While you can find a separate piece of hardware to provide each unique effect, most are commonly included as unique controls within a single software package or digital mixing console.

Effects processing is a means of manipulating or changing certain aspects of the recorded sound with the goal of enhancing the overall sound quality. Sometimes an effect is applied to an individual track (vocal or guitar, for instance) while other times it is applied to the finished recording.

Equalization can brighten a dull-sounding track, or tame one that has too much high frequency content, or just help different tracks to mix more transparently.

Compression can help to add punch and prevent annoying audio peaks. A compressor automatically turns down the talker’s or singer’s peaks (loud parts) by a preset amount so they don’t cause distortion. Compression also reduces the difference between the loudest and softest note, so the apparent loudness is greater. Example usage: A singer might vary in loudness from very soft to very loud, but the compressor reduces the magnitude of these extreme changes.

6. Listen carefully.

Monitor what you are recording while you’re recording it. This allows you to be aware of vocal issues (such as lip-smacking, mouth noises or pops) or musical mistakes that warrant a second take. To avoid feedback, you need to monitor through headphones or earphones; to avoid latency, you need to connect the headphones somewhere outside of the computer. (More about latency to follow.)

The simple truth is that before you can record or mix good sound, you need to be able to hear what you’re getting. In audio terms, monitors allow you to listen to the audio while it is being recorded or edited.

Here’s how:

If you are mixing or editing different sounds that were previously recorded, you can monitor through loudspeakers, headphones, or earphones.

If you’re trying to sing or play along with a recorded music track, you need to monitor through headphones or earphones. If you try to do this with the speakers, the sound of the speakers will be picked up by the microphone , which could in turn ‘bleed’ onto the new track or be re-amplified through the speakers. This can cause the whistling or howling you know as feedback.

You must be able to monitor in real time, with almost no latency. A few milliseconds of latency isn’t critical, although it can slightly alter your perception of pitch or tone. More than 10 milliseconds of latency can have a noticeable effect on your rhythm and timing. To monitor in real time, you need to tap into the audio signal before it gets converted from analog to digital and fed into the computer.

Tip: Minimizing Latency

Latency is a delay in the signal path caused by the time required to convert sound from analog to digital (or vice versa) or otherwise process the signal. Usually measured in milliseconds, latency can occur at multiple points in the signal path…and it can really add up. This means the sound you are hearing might not be happening in real time.

While you cannot fully avoid latency, regardless of how much you spend for processing power, you can use hardware that allows you to listen to the sound at the beginning of the signal path.

If you are using one microphone, look for one with ‘zero latency monitoring’ (which means it has an integrated headphone amp) so you can monitor directly from the microphone.
If you are using multiple microphones, use an interface box with headphone jacks, which will let you mix and monitor the combined output.

If you are recording directly from the sound source (such as from an electric bass guitar connected to a direct box), check to see if your USB adapter has a monitoring option.

For much more information on mic types, mic placement and other technical information relating to podcasting and home recording, download the Shure Introduction to Home Recording and Podcasting Educational booklet (PDF.)

Chris Lyons is Manager, Technical and Educational Communications at Shure Inc.

With more than 21 years of experience in training, technical support, and product management, he has presented training sessions for retail salespeople, created online training content, and supervised the deployment of third-party in-store product demonstrators, both in the U.S. and abroad. He has written numerous articles and technical papers and is a regular contributor to Shure podcasts.

The following article is an excerpt from Shure Notes, Issue #16(March 2006).

Podcasts. They’re getting a lot of attention these days. Is this the audio equivalent of blogs, where commentary can be shared over the Internet – or a powerful tool that puts broadcasting within the reach of anyone with music, a message and basic gear?

In this article, we’ll take you through the basics – what it is, who’s using it and how you can get started.

But First, What is It?

Here’s how one expert describes it:

“Podcasting is a method of publishing files via the Internet, allowing users to subscribe to a feed and receive new files automatically. It became popular in late 2004, intended largely for downloading audio files onto a portable MP3 player. Listening to podcasts does not require a portable player and it is not traditional ‘broadcasting’ to a mass audience at a fixed time.

The word “podcasting” is a linguistics blend coined in February 2004, combining “broadcasting” with the name of Apple Computer’s iPod audio player (although podcasting was not invented by Apple, nor do podcasts require a portable player or Apple software).

It is distinct from other types of online audio delivery because of its subscription model, which uses the RSS 2.0 file format. Podcasting enables independent producers to create self-published, syndicated “radio shows” and gives broadcast radio programs a new distribution channel. Listeners may subscribe to feeds using “podcatching” software (a type of “aggregator”.) which periodically checks for and downloads new content.”

*Source: God’s iPod

How to Get in the Game

Now that you know what a podcast is, you need to understand what it’s going to take to create one – or a series – of your own.

We’re going to look at three basic steps:

1. Plan
2. Produce
3. Post

Our guide for a stretch of this trip is Jason Van Orden, musician, educator, audio tech and practicing podcaster. Among his highly regarded podcasts: The Podcasting Underground, Internet Business Mastery and Gothamcast, rated as “New and Notable” in the Yahoo! Podcast Directory. His excellent how-to-podcast-tutorial.com is the foundation of our step-by-step guide (and will provide you with more detail than we’re able to here in Shure Notes).

Step 1: Plan

If you’re a musician, you know how to put a set list together. But if you want to produce a podcast that will attract and retain listeners, a little planning will help keep you and the podcast focused.

Ask yourself and your team these questions:

Who will be doing the podcast?

Some podcasts have one host, others have a team and still others feature a “cast”. The advantage of having multiple performers is:

• It is generally more engaging for your listeners.
• It spreads the content and performance responsibilities across several individuals.

What segments will your create?

Think about the programs you usually listen to or watch. Most all of them, particularly radio, have a format. Having a structure for your podcast will make it easier to plan and produce, plus your listeners will know what to expect and they’ll look forward to it. Here’s an example:

• Introduction (Theme Song)
• Welcome Message
• Announcements
• Song Intro
• Song
• Song Intro
• Song
• Music News
• Song Outro

How long will the podcast be?

You don’t have to fit your podcast into a specific time frame, but remember this: Your podcast should last as long as you can hold a listener’s attention — and that’s why many podcasts are about 20-30 minutes in length.

One of your goals should be to leave the listener wanting more, not looking at his or her watch. Remember, too, to build excitement for your next podcast.

How often will new podcasts be released?

Successful podcasters understand what bloggers and publisher have know for a long time – they are creating communities. Having a consistent publishing schedule will help you build listener loyalty.

These are format questions that will help keep you and your team on track. As an evolving medium, podcasts are dynamic and yours will change over time. There aren’t very many hard and fast rules, except for this one: If you use music or material that is not your own, make sure you are observing any relevant copyright laws. Get permission and better yet, get it in writing.

Step 2: Produce

Now that you have a format and a plan, you’re ready to think about the production process. This involves:

• Having the Right Gear
• Choosing a Recording Location

Let’s look at these one at a time.

Having the Right Gear: HARDWARE

To get started, you need a computer with broadband access, a microphone and headphones.

Computer

You will probably record and edit your podcast on your MAC or PC. Most computers that have been released in the last few years can be used for podcasting. The real demands on your computer will be its ability to record and process the audio.

Broadband Internet Connection

Not gear, but a necessity. To upload your podcast to the Internet and update your site, you’ll need a DSL, cable or T1 Internet connection.

Microphone

Whether you are recording a vocalist, instruments or spoken word, you’re going to need a microphone. Once again, your options are pretty much determined by what you’re recording and how much you have to spend. The good news is that you probably have mics on hand that will work well for podcasting.

Since every microphone has a distinct sonic signature, along with its own characteristics in terms of transducer type (condenser or dynamic) and polar pattern (unidirectional, cardioid and supercardioid), it’s important to understand the differences. Click here for information on microphone types.

In order to make the right choice, decide which is the most important element in your podcast. It’s probably the voice. If so, a large-diaphragm condenser microphone like the KSM 27 might be best. However, a fairly neutral sounding cardioid pattern condenser mic like Shure’s SM58 can work well on a wide variety of sound sources. Experiment with mic placement to get the best results.

Earphones

In the most basic podcasting set-up, just about any headphones that plug into your computer will get the job done. Keep in mind, though – an important part of the process involves listening to your podcasts. Not so long ago, this required wearing a heavy headset to block out room noise.

Technology has made that cumbersome gear a thing of the past with the introduction of high performance, sound-isolating earphones that you can use when recording – and for listening to podcasts on your iPod or MP3 player, the way most of your listeners will.

Here are two from Shure:

Starting Out

The Shure SE110 Earphones feature a studio quality, sound-isolating design. They come with a fit kit for personalized, in-ear placement. You can find them at your local Shure dealer or purchase them directly from the Shure online store (US Only) for around $120 (MSRP) a pair.

Stepping Up

The Shure SE210 Earphones offer sound isolating design with high-definition micro-speakers and extended frequency response for studio-quality sound. These cost about $180 a pair.

MP3 Player

When you post your podcast, download it through the feed into your MP3 player just like your listeners do. You’ll be able to perform a little quality control and also see how the information from the MP3 files is displayed – does it look the way you want it to?

Listen to other podcasts. You’ll gather ideas for your own shows and stay current with podcasting and what other podcasters are doing.

Having the Right Gear: SOFTWARE

You will need software for recording and editing your audio. There are many choices from ProTools, Acid, Sonar, Live and GarageBand (which offer the added benefit of royalty-free audio loops) to Audacity, which according to Jason Van Orden, has become popular with podcasting newbies and is available for free.

According to “The Art of Podcasting” in the December issue of Electronic Musician, “dedicated podcast-creation programs are springing up all the time. For Windows, there’s CastBlaster, Propaganda and ePodcast Creator. In addition to organizing and triggering audio clips, these programs export MP3s and the specialized text file that defines the podcast. They can also assist with file upload.”

You’ll need to convert your podcast to MP3 format before uploading it to the Internet. Converting your audio to MP3 makes the file size smaller and easier for others to download and listen to. Again, there are a number of free programs available for download, including iTunes and LAME. LAME appears to be the podcaster’s encoder of choice and offers an impressive array of features (for Mac and PC).

Choosing a Recording Location

If you have some recording experience, you’ll want to follow the same, successful techniques you’ve used in the past. For the rest of you – some useful tips:

Scout a location.
Have a place set up – preferably near the gear you’ll be using – that’s ready to go when you and your team are.

• Choose a space that’s quiet and free from distractions. Minimize as much background noise as possible.
• Turn off fans, additional computers, air conditioning units and telephones.
• Post a sign outside the door alerting passersby that you are recording.
• Think about room acoustics.

Closet Space. Recording Space.

“One of the best tricks I’ve found for creating a quiet recording space is to open the closet door, throw a large blanket or sleeping bag over the wide-open door and position the mic so that the dead spot of the mic is pointing right back into the open closet. The more clothes in the closet, the better. Remember, as you sing or speak – not only are you picking up the sound of your voice – you’re picking up any reflections in the room coming back from behind you. Singing into a closet is just like singing in a studio GOBO – it absorbs many of the reflections and can give you a darker, tighter sound.”

- Greg Riggs, Shure Associate

Step 3: Post

Ready to upload? You’ll need an FTP program. Once your podcast is ready for primetime, you’ll need to upload it to the Internet. SmartFTP is free for personal, educational and non-profit use.

If Rachel Can Do it, So Can You.

According to Business Week, “8 year-old Rachel Patchett hosts Rachel’s Choice, a weekly podcast in which she plays a Christian song and reads a bible verse. Up to 1,500 listeners tune in every week. Of course, it helps that her father is the man behind The GodCast Network, a portal offering 14 different religious broadcasts. There is a wealth of information available on the subject – much of it on the Internet, a good resource since the podcasting world is growing and changing so quickly. There’s even a podcasting organization – the Association of Music Podcasting. There are literally hundreds of sites that offer everything from weekly podcasting tips, to free software, podcast directories and places to upload your podcast. And of course, there’s an aftermarket of podcast developers who will do the work for you.

You have the gear. Now you have the production basics. Consider this: In 2005, a respected research group predicted that the U.S. podcast audience will climb to 56 million by 2010. By that time, three-quarters of all people who own portable digital music players will listen to podcasts. Talk about expanding your audience.

Visit Jason Van Orden’s site at: www.how-to-podcast-tutorial.com for a more thorough step-by-step guide to creating your first podcast. We also recommend David Battino’s “The Art of Podcasting” in the December 2005 issue of Electronic Musician. Like many of the websites dedicated to podcasting, there’s a helpful directory that includes podcast, hosting, resources, reading and software sites.

Five Reasons Why

• You already own most of the equipment. If you have a computer, a broadband connection and a microphone, you’ve got the basic gear.
• You will reach a wider audience. It’s all about reaching out, right? Not only can you stay in touch with your fans (as an example), you have the potential to reach an audience far beyond geographic boundaries. Think national. Think global.
• You’re in control.
• One of the great advantages of podcasting is its inherent flexibility – you can publish your podcast as often as you want (every day, every week, every month) and it can be as long as it needs to be. You’re not limited to a format. The fact is, you’ll be developing a format of your own. Talk. Music. Talk and music.
• It’s automatic.

Once you’ve developed your content and listeners have subscribed, the foundation is built. When you post new content, it’s automatically downloaded and transferred to your listener’s MP3 player. Because listeners have subscribed to your podcast, they’re motivated to receive your message. It won’t get lost like SPAM e-mail — and because your podcast is delivered over the Internet, it’s inexpensive.
This is “Theater of the Mind”
Very few of us can recall the radio days of our grandparents, when listeners, not distracted by the kinds of visual imagery that assaults us today, unleashed the power of imagination to experience “theater of the mind”. Podcasts can do the same thing. This is intimate and impactful – a medium that delivers a very personal listening experience.

More Length = More Storage
The longer the show, the larger your MP3 file and the more website bandwidth is required. Depending on your situation, you may need to contact your ISP.

Do You Really Need a Pop Filter?

If you’re not familiar with recording, you may not know that the popping (or plosive) sounds that are made when a speaker uses words with “p” or “b” can be annoying to listeners. A pop filter is usually made of nylon cloth stretched around a frame, threaded to screw on a microphone stand. (A cheap pop filter can even be made from a pair of stockings and a coat hanger in an emergency.) This filter is placed in front of the diaphragm, between the microphone and the vocalist’s mouth.

Podcasters and Aggregators

Sounds like a game of ‘cops and robbers’, right? These are terms that refer to what’s required for a listener to download a podcast. Here’s the good news: any digital audio player or computer can play podcasts. On the other hand, if listeners wish to subscribe to your podcasts, they’ll need podcatching software (an aggregator) that checks for and downloads new content directly to their audio player or computer, iTunes and Windows Media Player, both free.